1.
Paris
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Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
Paris
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In the 1860s Paris streets and monuments were illuminated by 56,000 gas lamps, making it literally "The City of Light."
Paris
Paris
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Gold coins minted by the Parisii (1st century BC)
Paris
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The Palais de la Cité and Sainte-Chapelle, viewed from the Left Bank, from the Très Riches Heures du duc de Berry (month of June) (1410)
2.
France
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France, officially the French Republic, is a country with territory in western Europe and several overseas regions and territories. The European, or metropolitan, area of France extends from the Mediterranean Sea to the English Channel and the North Sea, Overseas France include French Guiana on the South American continent and several island territories in the Atlantic, Pacific and Indian oceans. France spans 643,801 square kilometres and had a population of almost 67 million people as of January 2017. It is a unitary republic with the capital in Paris. Other major urban centres include Marseille, Lyon, Lille, Nice, Toulouse, during the Iron Age, what is now metropolitan France was inhabited by the Gauls, a Celtic people. The area was annexed in 51 BC by Rome, which held Gaul until 486, France emerged as a major European power in the Late Middle Ages, with its victory in the Hundred Years War strengthening state-building and political centralisation. During the Renaissance, French culture flourished and a colonial empire was established. The 16th century was dominated by civil wars between Catholics and Protestants. France became Europes dominant cultural, political, and military power under Louis XIV, in the 19th century Napoleon took power and established the First French Empire, whose subsequent Napoleonic Wars shaped the course of continental Europe. Following the collapse of the Empire, France endured a succession of governments culminating with the establishment of the French Third Republic in 1870. Following liberation in 1944, a Fourth Republic was established and later dissolved in the course of the Algerian War, the Fifth Republic, led by Charles de Gaulle, was formed in 1958 and remains to this day. Algeria and nearly all the colonies became independent in the 1960s with minimal controversy and typically retained close economic. France has long been a centre of art, science. It hosts Europes fourth-largest number of cultural UNESCO World Heritage Sites and receives around 83 million foreign tourists annually, France is a developed country with the worlds sixth-largest economy by nominal GDP and ninth-largest by purchasing power parity. In terms of household wealth, it ranks fourth in the world. France performs well in international rankings of education, health care, life expectancy, France remains a great power in the world, being one of the five permanent members of the United Nations Security Council with the power to veto and an official nuclear-weapon state. It is a member state of the European Union and the Eurozone. It is also a member of the Group of 7, North Atlantic Treaty Organization, Organisation for Economic Co-operation and Development, the World Trade Organization, originally applied to the whole Frankish Empire, the name France comes from the Latin Francia, or country of the Franks
France
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One of the Lascaux paintings: a horse – Dordogne, approximately 18,000 BC
France
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Flag
France
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The Maison Carrée was a temple of the Gallo-Roman city of Nemausus (present-day Nîmes) and is one of the best preserved vestiges of the Roman Empire.
France
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With Clovis ' conversion to Catholicism in 498, the Frankish monarchy, elective and secular until then, became hereditary and of divine right.
3.
Sculpture
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Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts, a wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded, or cast. However, most ancient sculpture was painted, and this has been lost. Those cultures whose sculptures have survived in quantities include the cultures of the ancient Mediterranean, India and China, the Western tradition of sculpture began in ancient Greece, and Greece is widely seen as producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith, the revival of classical models in the Renaissance produced famous sculptures such as Michelangelos David. Relief is often classified by the degree of projection from the wall into low or bas-relief, high relief, sunk-relief is a technique restricted to ancient Egypt. Relief sculpture may also decorate steles, upright slabs, usually of stone, techniques such as casting, stamping and moulding use an intermediate matrix containing the design to produce the work, many of these allow the production of several copies. The term sculpture is used mainly to describe large works. The very large or colossal statue has had an enduring appeal since antiquity, another grand form of portrait sculpture is the equestrian statue of a rider on horse, which has become rare in recent decades. The smallest forms of life-size portrait sculpture are the head, showing just that, or the bust, small forms of sculpture include the figurine, normally a statue that is no more than 18 inches tall, and for reliefs the plaquette, medal or coin. Sculpture is an important form of public art, a collection of sculpture in a garden setting can be called a sculpture garden. One of the most common purposes of sculpture is in form of association with religion. Cult images are common in cultures, though they are often not the colossal statues of deities which characterized ancient Greek art. The actual cult images in the innermost sanctuaries of Egyptian temples, of which none have survived, were rather small. The same is true in Hinduism, where the very simple. Some undoubtedly advanced cultures, such as the Indus Valley civilization, appear to have had no monumental sculpture at all, though producing very sophisticated figurines, the Mississippian culture seems to have been progressing towards its use, with small stone figures, when it collapsed. Other cultures, such as ancient Egypt and the Easter Island culture, from the 20th century the relatively restricted range of subjects found in large sculpture expanded greatly, with abstract subjects and the use or representation of any type of subject now common. Today much sculpture is made for intermittent display in galleries and museums, small sculpted fittings for furniture and other objects go well back into antiquity, as in the Nimrud ivories, Begram ivories and finds from the tomb of Tutankhamun
Sculpture
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The Dying Gaul, or The Capitoline Gaul a Roman marble copy of a Hellenistic work of the late 3rd century BCE Capitoline Museums, Rome
Sculpture
Sculpture
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Michelangelo 's Moses, (c. 1513–1515), housed in the church of San Pietro in Vincoli in Rome. The sculpture was commissioned in 1505 by Pope Julius II for his tomb.
Sculpture
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Assyrian lamassu gate guardian from Khorsabad, c. 721–800 BCE
4.
Animalier
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An animalier is an artist, mainly from the 19th century, who specializes in, or is known for, skill in the realistic portrayal of animals. Animal painter is the general term for earlier artists. Although the work may be in any genre or format, the term is most often applied to sculptors and painters, by the mid-century, a taste for animal subjects was very widespread among all sections of the middle-classes. In French, a parc animalier is a zoo, richard Ansdell Rosa Bonheur Jacques Raymond Brascassat Alexandre-François Desportes Melchior dHondecoeter Charles Jacque Paul Jouve Edwin Landseer Examples Link
Animalier
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Frans Snyders - Still Life with a Wine Cooler
Animalier
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Eagle by Henri Alfred Jacquemart on the Paris Garnier Opera.
Animalier
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A bronze sculpture of a partridge with gilt patination by Jules Moigniez, c. 1880
5.
Paris, France
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Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
Paris, France
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In the 1860s Paris streets and monuments were illuminated by 56,000 gas lamps, making it literally "The City of Light."
Paris, France
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Clockwise from top: Pyramid of the Louvre, Arc de Triomphe, Palace of Versailles, skyline of Paris on the River Seine with the Pont des Arts bridge, and the Eiffel Tower - clickable image
Paris, France
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Gold coins minted by the Parisii (1st century BC)
Paris, France
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The Palais de la Cité and Sainte-Chapelle, viewed from the Left Bank, from the Très Riches Heures du duc de Berry (month of June) (1410)
6.
Goldsmith
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A goldsmith is a metalworker who specializes in working with gold and other precious metals. Goldsmiths must be skilled in forming metal through filing, soldering, sawing, forging, casting, the trade has very often included jewellery-making skills, as well as the very similar skills of the silversmith. Many universities and junior colleges also offer goldsmithing, silversmithing, compared to other metals, gold is malleable, ductile, rare, and it is the only solid metallic element with a yellow color. It may easily be melted, fused, and cast without the problems of oxides and gas that are problematic with other such as bronzes. It is fairly easy to weld, wherein similarly to clay two small pieces may be pounded together to make one larger piece. Gold is classified as a noble metal—because it does not react with most elements and it usually is found in its native form, lasting indefinitely without oxidization and tarnishing. Gold has been worked by humans in all cultures where the metal is available, either indigenously or imported, and the history of these activities is extensive. Superbly made objects from the ancient cultures of Africa, Asia, Europe, India, North America, Mesoamerica, some pieces date back thousands of years and were made using many techniques that still are used by modern goldsmiths. Techniques developed by some of those goldsmiths achieved a level that was lost and remained beyond the skills of those who followed. In medieval Europe goldsmiths were organized into guilds and usually were one of the most important, the guild kept records of members and the marks they used on their products. These records, when they survive, are useful to historians. Goldsmiths often acted as bankers, since they dealt in gold and had sufficient security for the storage of valuable items. The Sunar caste is one of the oldest communities in goldsmithing in India, in India, Vishwakarma are the goldsmith caste. The printmaking technique of engraving developed among goldsmiths in Germany around 1430, the notable engravers of the fifteenth century were either goldsmiths, such as Master E. S. or the sons of goldsmiths, such as Martin Schongauer and Albrecht Dürer. A goldsmith might have an array of skills and knowledge at their disposal. Gold, being the most malleable metal of all, offers opportunities for the worker. In todays world a variety of other metals, especially platinum alloys. 24 Carat is pure gold and historically, was known as fine gold, because it is so soft, however,24 Carat gold is rarely used
Goldsmith
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Fifteenth-century engraving of the goldsmith and patron saint of goldsmiths Saint Eligius in his workshop
Goldsmith
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The Baqdadi goldsmith by Kamal-ol-molk
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A Karo people (Indonesia) goldsmith in Sumatra (circa 1918)
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Karo goldsmith and his tools
7.
Romanticism
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Romanticism was characterized by its emphasis on emotion and individualism as well as glorification of all the past and nature, preferring the medieval rather than the classical. It was embodied most strongly in the arts, music, and literature, but had a major impact on historiography, education. It elevated folk art and ancient custom to something noble, Romanticism assigned a high value to the achievements of heroic individualists and artists, whose examples, it maintained, would raise the quality of society. It also promoted the individual imagination as a critical authority allowed of freedom from classical notions of form in art, there was a strong recourse to historical and natural inevitability, a Zeitgeist, in the representation of its ideas. In the second half of the 19th century, Realism was offered as a polar opposite to Romanticism, the decline of Romanticism during this time was associated with multiple processes, including social and political changes and the spread of nationalism. Defining the nature of Romanticism may be approached from the point of the primary importance of the free expression of the feelings of the artist. The importance the Romantics placed on emotion is summed up in the remark of the German painter Caspar David Friedrich that the feeling is his law. Samuel Taylor Coleridge and others believed there were laws that the imagination—at least of a good creative artist—would unconsciously follow through artistic inspiration if left alone. As well as rules, the influence of models from other works was considered to impede the creators own imagination, so that originality was essential. The concept of the genius, or artist who was able to produce his own work through this process of creation from nothingness, is key to Romanticism. This idea is called romantic originality. Not essential to Romanticism, but so widespread as to be normative, was a strong belief, however, this is particularly in the effect of nature upon the artist when he is surrounded by it, preferably alone. Romantic art addressed its audiences with what was intended to be felt as the voice of the artist. So, in literature, much of romantic poetry invited the reader to identify the protagonists with the poets themselves. In both French and German the closeness of the adjective to roman, meaning the new literary form of the novel, had some effect on the sense of the word in those languages. It is only from the 1820s that Romanticism certainly knew itself by its name, the period typically called Romantic varies greatly between different countries and different artistic media or areas of thought. Margaret Drabble described it in literature as taking place roughly between 1770 and 1848, and few dates much earlier than 1770 will be found. In English literature, M. H. Abrams placed it between 1789, or 1798, this latter a very typical view, and about 1830, however, in most fields the Romantic Period is said to be over by about 1850, or earlier
Romanticism
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Caspar David Friedrich, Wanderer Above the Sea of Fog, 1818
Romanticism
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Eugène Delacroix, Death of Sardanapalus, 1827, taking its Orientalist subject from a play by Lord Byron
Romanticism
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Philipp Otto Runge, The Morning, 1808
Romanticism
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William Blake, The Little Girl Found, from Songs of Innocence and Experience, 1794
8.
Francois Joseph Bosio
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Baron François Joseph Bosio was a French sculptor who achieved distinction in the first quarter of the nineteenth century with his work for Napoleon and for the restored French monarchy. Born in Monaco, Bosio was given a scholarship by prince Honoré I to study in Paris with the eminent sculptor Augustin Pajou. After brief service in the Revolutionary army he lived in Florence, Rome and Naples, Louis XVIII made Bosio a Knight of the Order of Saint Michael in 1821 and appointed him premier sculpteur du Roi. In 1828, Bosio saw his grandiose equestrian sculpture of Louis XIV erected in the Place des Victoires in Paris and was made an Officier of the Légion dhonneur and he was made a baron by Charles X of France in 1825. Many of his most important sculptures and statues can today be found in the Louvre museum in Paris, a study of Bosio was published by L. Barbarin, Etude sur Bosio, sa vie et son oeuvre 1910. Quadriga of the Arc de Triomphe du Carrousel Hercules Wrestling Achelous, equestrian sculpture of Louis XIV Monument to Louis XVI in the Chapelle Expiatoire. In the Louvre, Aristaeus, god of gardens, An official commission for the Imperial palaces through Vivant-Denon,7 December 1812, Bosios original plaster, pointed for a marble version, is at the Louvre Museum at Saint-Omer. The marble, finished after Bosios death by his nephew, is at Versailles, cupid with a bow Bust of Queen Marie-Amélie of France Bust of the marquis dAligre owner of the Château de Baronville Portrait Bust of the Empress Marie-Louise, c. 1810–1815 Dallas Museum of Art Portrait Bust of Catherine, Princess of Wurtemburg, c
Francois Joseph Bosio
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Bosio's quadriga on the Arc de Triomphe du Carrousel, Paris, commemorating the Restoration of the Bourbons.
Francois Joseph Bosio
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Bosio's Hyacinth (1817)
Francois Joseph Bosio
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Bosio's Henry IV as a Child (1824–25)
Francois Joseph Bosio
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Bosio's Hercules fighting Acheloos transformed into a snake (1824)
9.
Antoine-Jean Gros
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Antoine-Jean Gros, also known as Baron Gros, was both a French history and neoclassical painter. Born in Paris, Gros began to learn to draw at the age of six from his father, Jean-Antoine Gros, who was a miniature painter, and showed himself as a gifted artist. The death of his father, whose circumstances had been embarrassed by the French Revolution, threw Gros, in 1791 and he now devoted himself wholly to his profession, and competed in 1792 for the grand prix. He supported himself at Genoa by the means, producing a great quantity of miniatures and fixes. He visited Florence, but returned to Genoa where he made the acquaintance of Joséphine de Beauharnais and he followed her to Milan, where he was well received by her husband, Napoleon Bonaparte. On 15 November 1796, Gros was present with the army near Arcola when Bonaparte planted the French tricolor on the bridge, Gros seized on this incident, and showed by his treatment of it that he had found his vocation. In 1799, having escaped from the city of Genoa, Gros made his way to Paris. Les Pestiférés de Jaffa was followed by The Battle of Aboukir,1806, at the Salon of 1804, Gros debuted his painting Bonaparte Visiting the Plague Victims of Jaffa. The painting launched his career as a successful painter and it depicts Bonaparte in Jaffa visiting soldiers infected with the bubonic plague. He is portrayed reaching out to one of the sick, unfazed by the illness, while Bonaparte did actually visit the pesthouse, later, as his army prepared to withdraw from Syria, he ordered the poisoning of about fifty of his plague-infected men. The painting was commissioned as damage control when word spread of his actions, the painting is in the Neo-Classical style, though it shows elements such as the lighting and a taste for the exotic that are precursors to the upcoming Romantic ideals. In 1810, his Madrid and Napoleon at the Pyramids show that his star had deserted him, again citing Britannica, Exasperated by criticism and the consciousness of failure, Gros sought refuge in the gros pleasures of life. On 25 June 1835, he was drowned on the shores of the Seine at Meudon. From a paper which he had placed in his hat, it known that tired of life. Gros was decorated and named Baron of the Empire by Napoleon, after the Salon of 1808, the number of Gross pupils was very great, and was considerably augmented when, in 1815, David quit Paris and gave over his own classes to him. He became a member of the Institute, professor at the École des Beaux Arts, Gros had also been an inspiration to Eugene Delacroix, especially with his work in lithography. The two both worked in the time period, and both did portraits of Napoleon. Though at one point, Gros had referred to Delacroixs Chios, G. Dargenty produced a book titled Les Artistes Celebres Le Baron Gros GILBERT WOOD & Co
Antoine-Jean Gros
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Antoine-Jean Gros, by François Gérard (1791)
Antoine-Jean Gros
Antoine-Jean Gros
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Equestrian portrait of prince Boris Yusupov, 1809
Antoine-Jean Gros
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Bonaparte at the pont d'Arcole, 1796
10.
Jardin des Plantes
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The Jardin des Plantes is the main botanical garden in France. It is one of seven departments of the Muséum national dhistoire naturelle and it is situated in the 5ème arrondissement, Paris, on the left bank of the river Seine and covers 28 hectares. The grounds of the Jardin des Plantes includes four galleries of the Muséum, the Grande Galerie de lÉvolution, the Mineralogy Museum, the Paleontology Museum and the Entomology Museum. In addition to the gardens there is also a zoo, Ménagerie du Jardin des plantes. The Jardin des Plantes maintains a school, which trains botanists, constructs demonstration gardens. About 4500 plants are arranged by family on a one hectare plot, three hectares are devoted to horticultural displays of decorative plants. An Alpine garden has 3000 species with world-wide representation, specialized buildings, such as a large Art Deco winter garden, and Mexican and Australian hothouses display regional plants, not native to France. The Rose Garden, created in 1990, has hundreds of species of roses, founded in 1626, the garden was not planted by Guy de La Brosse, Louis XIIIs physician, until 1635 as a medicinal herb garden. It was originally known as the Jardin du Roi, in 1640 it opened to the public. After a period of decline, Jean-Baptiste Colbert took administrative control of the gardens and it includes the 6,963 specimens of the herbarium collection of Joseph Tournefort, donated on his death to the Jardin du Roi. The Comte de Buffon became the curator in 1739 and he expanded the gardens greatly, adding a maze, the Labyrinth, in 1792 the Royal Menagerie was moved to the gardens from Versailles. List of botanical gardens in France Official site Paris Botanical Garden
Jardin des Plantes
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The exterior of the Grande Galerie de l'évolution architect Louis-Jules André.
Jardin des Plantes
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Plan of the Jardin des Plantes from 1820
Jardin des Plantes
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The Mexican Hothouse built (1834–36) by Charles Rohault de Fleury, an early example of French glass and metal architecture
Jardin des Plantes
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Map of the Jardin des Plantes
11.
Hercules
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Hercules is the Roman adaptation of the Greek divine hero Heracles, who was the son of Zeus and the mortal Alcmene. In classical mythology, Hercules is famous for his strength and for his numerous far-ranging adventures, the Romans adapted the Greek heros iconography and myths for their literature and art under the name Hercules. In later Western art and literature and in culture, Hercules is more commonly used than Heracles as the name of the hero. Hercules was a figure with contradictory characteristics, which enabled later artists and writers to pick. This article provides an introduction to representations of Hercules in the later tradition, Hercules is known for his many adventures, which took him to the far reaches of the Greco-Roman world. One cycle of these adventures became canonical as the Twelve Labours, one traditional order of the labours is found in the Bibliotheca as follows, Slay the Nemean Lion. Capture the Golden Hind of Artemis, clean the Augean stables in a single day. Obtain the girdle of Hippolyta, Queen of the Amazons, obtain the cattle of the monster Geryon. Steal the apples of the Hesperides, Hercules was a favorite subject for Etruscan art, and appears often on bronze mirrors. The Etruscan form Herceler derives from the Greek Heracles via syncope, a mild oath invoking Hercules was a common interjection in Classical Latin. Hercules had a number of myths that were distinctly Roman, one of these is Hercules defeat of Cacus, who was terrorizing the countryside of Rome. The hero was associated with the Aventine Hill through his son Aventinus, Mark Antony considered him a personal patron god, as did the emperor Commodus. Roman brides wore a belt tied with the knot of Hercules. The comic playwright Plautus presents the myth of Hercules conception as a sex comedy in his play Amphitryon, during the Roman Imperial era, Hercules was worshipped locally from Hispania through Gaul. Tacitus records a special affinity of the Germanic peoples for Hercules, in chapter 3 of his Germania, Tacitus states. They say that Hercules, too, once visited them, and they have also those songs of theirs, by the recital of this barditus as they call it, they rouse their courage, while from the note they augur the result of the approaching conflict. For, as their line shouts, they inspire or feel alarm, some have taken this as Tacitus equating the Germanic Þunraz with Hercules by way of interpretatio romana. In the Roman era Hercules Club amulets appear from the 2nd to 3rd century, distributed over the empire, mostly made of gold, a specimen found in Köln-Nippes bears the inscription DEO HER, confirming the association with Hercules
Hercules
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Hercules fighting the Nemean lion by Peter Paul Rubens
Hercules
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Hercules and the Hydra (ca. 1475) by Antonio del Pollaiuolo; the hero wears his characteristic lionskin and wields a club
Hercules
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Hercules capturing the Erymanthian Boar, by J.M. Félix Magdalena (b. 1941)
Hercules
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Killing a fire-breathing Cacus (Sebald Beham, 1545)
12.
Mount Erymanthos
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Erymanthos is a mountain range in the southern part of Achaea and the northeastern part of Elis. With an elevation of 2,224 meters, it is the fourth-tallest mountain in the Peloponnese peninsula, the summit is located on the boundary of Achaea and Elis. Historically, Mount Erymanthos was part of northwestern Arcadia, where it was the second-tallest mountain range, the northern portion belonged to the historic Achaea. Stretching east and southeast is Chelmos, also known as Aroania, Chelmos, which can be seen from the mountain, is located to the east, but stretches to the south. The villages of area of Panachaiko and Omplos are located in an agriculturally rich valley between the peaks of Erymanthos. The elevation ranges from 150 metres in the north to up to 800 metres -1,000 metres in the south, Erymanthos is forested around its edges, the forest cover consisting of pine, olive, cedar, birch, and spruce trees. Barren land and grasslands vary from 1,000 metres to 1,600 metres, the mountains color is derived from the colors of the bedrock, which are brown, butterscotch, and tan. Several dry streams appear on the peak, connected mountain ranges include Kallifoni and Lampeia to the southwest. The mountain is the source of the Pineios river to the southwest, Selinountas to the east, Erymanthos to the south and it is part of the Oleni-Pindos geological zone. The view from the summit of Erymanthos includes most of the western and northwestern Peloponnese, northern Arcadia, the mountains of southern Central Greece and the mountains of the islands of Zakynthos, Kefalonia, and Ithaca can be seen on clear days. In ancient times, Erymanthos was famous as the residence of the Erymanthian Boar, in Greek mythology, the King of Arcadia, Lycaon, named his boar Erymanthus, after the mountain. Heracles captured the Erymanthian Boar and brought it back to Eurystheus as one of his 12 labors, between the Byzantine Empire and the Greek War of Independence, several villages were founded, including Skiada and Oreino. After World War II and the Greek Civil War, most villages were rebuilt, on February 5,2008, the mountain was shaken by two earthquakes measuring 5.5 on the Richter scale. One epicenter was in Chalandritsa, and the other was in Farres, list of mountains in Greece This article incorporates texts from the Greek language online encyclopedia livepedia. gr which is published under the GFDL. Greek Mountain Flora Mount Erymanthos on GTP Travel Pages Mount Erymanthos at oreivatein. gr Erymanthos at the Municipality of Fares homepage
Mount Erymanthos
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The snow-capped summits of Erymanthos
Mount Erymanthos
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The village of Skiada on the side of Mount Erymanthos
13.
National Museum, Warsaw
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The National Museum in Warsaw, popularly abbreviated as MNW, is a national museum in Warsaw, one of the largest museums in Poland and the largest in the capital. The museum is home to numismatic collections, a gallery of applied arts. The National Museum in Warsaw was established on 20 May 1862, as the Museum of Fine Arts, Warsaw, the collection, on Jerusalem Avenue, is housed in a building designed by Tadeusz Tolwiński, developed between 1927 and 1938. In 1932 an exhibition of decorative art opened in the two earlier erected wings of the building, the new building was inaugurated on 18 June 1938. The purpose-built modernistic edifice, was situated on the edge of Na Książęcem Park established between 1776–79 for Prince Kazimierz Poniatowski, from 1935 the museum director was Stanisław Lorentz, who directed an effort to save the most valuable works of art during World War II. The Gestapo headquarters presented Rembrandts portrait of Maerten Soolmans as a gift to Hans Frank in occupied Kraków, after the war the Polish Government, under the supervision of Professor Lorentz, retrieved many of the works seized by the Germans. More than 5,000 artifacts are still missing, in 2008 the Polish Archaeological Mission Tyritake of National Museum in Warsaw commenced works at Tyritake, Crimea. It is headed by Alfred Twardecki curator of the Ancient Art Gallery, in 2010 the National Museum, as one of the first state institutions in the world, held an exhibition entirely consecrated to homoerotic art - Ars Homo Erotica. Since the 2011–12 renovation, the museum is considered as one of the most modern in Europe with a computer-led LED lighting allowing to enhance unique qualities of every painting. In 2012 the permanent galleries underwent revolutionary changes, the curators of the museum re-arranged it and supplemented it with new works from the museums warehouses. Paintings were not hung chronologically, but thematically, genre painting, still lifes, landscapes, cityscapes, biblical, mythological, works by Italian, Flemish, Dutch, German and Polish artists were hung together, making it easy to observe and compare similarities and differences. The Gallery of Medieval Art mainly presents objects from the late Middle Ages, originating from different regions of todays Poland and these works were originally designed almost exclusively for churches. The exhibition was designed to allow the audience to understand the role of art in the life of the Middle Ages. The new techniques implemented in the gallery allow the presentation of large polyptychs, such as the famous Grudziądz Polyptych. The new arrangement of the exhibition was designed by WWAA, the Gallery of Old Masters on the second floor was conceived from the former Gallery of Decorative Art, Gallery of Old European Painting and the Gallery of Old Polish and European Portrait in 2016. It combines species of pictorial art - painting, sculpture, drawings and these social spaces have provided the key to the division of the gallery,1. Church, chapel and domestic altar,3, in the redesigned gallery, the works are presented not according to national schools, but as a confrontation of artistic circles of the South and North. The new system reflects the hierarchy of the created by Renaissance art theory
National Museum, Warsaw
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National Museum, Warsaw
National Museum, Warsaw
National Museum, Warsaw
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Main facade of the National Museum, 1938
National Museum, Warsaw
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The Raising of Lazarus by Carel Fabritius is displayed in the Gallery of Old European Painting
14.
Warsaw
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Warsaw is the capital and largest city of Poland. It stands on the Vistula River in east-central Poland, roughly 260 kilometres from the Baltic Sea and 300 kilometres from the Carpathian Mountains. Its population is estimated at 1.750 million residents within a metropolitan area of 3.101 million residents. The city limits cover 516.9 square kilometres, while the area covers 6,100.43 square kilometres. In 2012 the Economist Intelligence Unit ranked Warsaw as the 32nd most liveable city in the world and it was also ranked as one of the most liveable cities in Central Europe. Today Warsaw is considered an Alpha– global city, an international tourist destination. Warsaws economy, by a variety of industries, is characterised by FMCG manufacturing, metal processing, steel and electronic manufacturing. The city is a significant centre of research and development, BPO, ITO, the Warsaw Stock Exchange is one of the largest and most important in Central and Eastern Europe. Frontex, the European Union agency for external security, has its headquarters in Warsaw. It has been said that Warsaw, together with Frankfurt, London, Paris, the city is positioning itself as Eastern Europe’s chic cultural capital with thriving art and club scenes and serious restaurants. The first historical reference to Warsaw dates back to the year 1313, after the Third Partition of Poland in 1795, Warsaw was incorporated into the Kingdom of Prussia. In 1806 during the Napoleonic Wars, the city became the capital of the Grand Duchy of Warsaw. In accordance with the decisions of the Congress of Vienna, the Russian Empire annexed Warsaw in 1815, only in 1918 did it regain independence from the foreign rule and emerge as a new capital of the independent Republic of Poland. Warsaw gained the title of the Phoenix City because it has survived wars, conflicts. Most notably, the city required painstaking rebuilding after the damage it suffered in World War II. On 9 November 1940, the city was awarded Polands highest military decoration for heroism, the historic city-centre of Warsaw with its picturesque Old Town in 1980 was listed as a UNESCO World Heritage Site. Buildings represent examples of nearly every European architectural style and historical period, folk etymology attributes the city name to a fisherman, Wars, and his wife, Sawa. According to legend, Sawa was a living in the Vistula River with whom Wars fell in love
Warsaw
Warsaw
Warsaw
Warsaw
15.
Bronze
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These additions produce a range of alloys that may be harder than copper alone, or have other useful properties, such as stiffness, ductility, or machinability. The archeological period where bronze was the hardest metal in use is known as the Bronze Age. In the ancient Near East this began with the rise of Sumer in the 4th millennium BC, with India and China starting to use bronze around the same time, everywhere it gradually spread across regions. The Bronze Age was followed by the Iron Age starting from about 1300 BC and reaching most of Eurasia by about 500 BC, the discovery of bronze enabled people to create metal objects which were harder and more durable than previously possible. Bronze tools, weapons, armor, and building such as decorative tiles were harder and more durable than their stone. It was only later that tin was used, becoming the major ingredient of bronze in the late 3rd millennium BC. Tin bronze was superior to arsenic bronze in that the process could be more easily controlled. Also, unlike arsenic, metallic tin and fumes from tin refining are not toxic, the earliest tin-alloy bronze dates to 4500 BCE in a Vinča culture site in Pločnik. Other early examples date to the late 4th millennium BC in Africa, Susa and some ancient sites in China, Luristan, ores of copper and the far rarer tin are not often found together, so serious bronze work has always involved trade. Tin sources and trade in ancient times had a influence on the development of cultures. In Europe, a source of tin was the British deposits of ore in Cornwall. In many parts of the world, large hoards of bronze artefacts are found, suggesting that bronze also represented a store of value, in Europe, large hoards of bronze tools, typically socketed axes, are found, which mostly show no signs of wear. With Chinese ritual bronzes, which are documented in the inscriptions they carry and from other sources and these were made in enormous quantities for elite burials, and also used by the living for ritual offerings. Pure iron is soft, and the process of beating and folding sponge iron to wrought iron removes from the metal carbon. Careful control of the alloying and tempering eventually allowed for wrought iron with properties comparable to modern steel, Bronze was still used during the Iron Age, and has continued in use for many purposes to the modern day. Among other advantages, it does not rust, the weaker wrought iron was found to be sufficiently strong for many uses. Archaeologists suspect that a disruption of the tin trade precipitated the transition. The population migrations around 1200–1100 BC reduced the shipping of tin around the Mediterranean, limiting supplies, there are many different bronze alloys, but typically modern bronze is 88% copper and 12% tin
Bronze
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Yoruba bronze head sculpture, Ife, Nigeria c. 12th century AD
Bronze
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Bronze deer figurine dating from between the 9th and 6th centuries BC, National Archaeological Museum of Sofia
Bronze
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A hoard of bronze socketed axes from the Bronze Age found in modern Germany. This was the top tool of the period, and also seems to have been used as a store of value.
Bronze
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Chinese Ding, Western Zhou (1046–771 BC)
16.
Baltimore Museum of Art
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The Baltimore Museum of Art, located in Baltimore, Maryland, United States, is an art museum that was founded in 1914. The BMA is home to a renowned collection of art that ranges from ancient Antioch mosaics to cutting-edge contemporary art. While founded with a painting, today the BMA has over 95,000 works of art—including the largest public holding of works by Henri Matisse. The museum encompasses a 210,000 sq. ft. building that was built in 1929, in the Roman Temple architectural style. The highlight of the museum is the Cone Collection, brought together by Baltimore sisters Dr. Claribel, the BMA is currently led by Director Christopher Bedford, who was appointed in May 2016, after a year-long search. Prior to joining the BMA, Bedford led the Rose Art Museum at Brandeis University in Massachusetts for 4 years, the Baltimore Museum of Art is the site of Gertrudes Restaurant, owned and operated by chef John Shields. In February,1904, a fire destroyed much of the central part of the downtown business district of the city of Baltimore. In response, the government established a City-Wide Congress to develop a master plan for the citys recovery and future growth. The congress, headed by Dr. A. R. L, Dohme, decided among other things that a major deficiency of the city was the lack of an art museum. This decision led to the formation of an 18-person Committee on the Art Museum led by art dealer, ten years later, the museum was officially incorporated on November 16,1914. Along with Minneapolis and Cleveland, Baltimores museum was modeled after two prominent 1870s predecessors, the Metropolitan Museum of Art in New York and the Museum of Fine Arts, Boston. According to a booklet published at the time of incorporation, it was stated that Baltimore lagged behind other cities “in regard to matters of aesthetic interest. ”Still without a permanent site, the museum was founded with but a single painting, William-Sergeant Kendalls Mischief. As the museums founders were confident more art would eventually be acquired, at this time, the committee began planning a permanent home for the museums holdings. In 1916, a building was purchased on the southwest corner of North Charles, although an architect was employed to remodel it, it was never occupied. In 1915 the group had by then decided to house the museum in the Wyman Park area, west of the then named Peabody Heights. In 1923, the inaugural exhibition opened there with attendance topping 6,775 during its first week. The house was offered by Miss M. Cary as a home for the collections, the old Garrett mansion was acquired in 1925 by the group of art enthusiasts who bought the property for the purpose of keeping the museum intact. Despite having limited space, the museum offered accommodations to art associations, meanwhile, back at Wyman Park, prominent architect John Russell Pope, was engaged to design the museums permanent home
Baltimore Museum of Art
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Baltimore Museum of Art
Baltimore Museum of Art
Baltimore Museum of Art
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Auguste Rodin 's " The Thinker " (1904).
Baltimore Museum of Art
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The "Eltonhead Manor Room" is one of six rooms at the Baltimore Museum of Art that replicates a historic Maryland house.
17.
Walters Art Museum
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The Walters Art Museum, located in Mount Vernon-Belvedere, Baltimore, Maryland, is a public art museum founded and opened in 1934. It holds collections established during the mid-19th Century, located across the back alley, a block south of the Walters mansion on West Monument Street/Mount Vernon Place, on the northwest corner of North Charles Street at West Centre Street. The following year, The Walters reopened its original building after a dramatic three-year physical renovation and replacement of internal utilities. The Archimedes Palimpsest was on loan to the Walters Art Museum from a collector for conservation. This was one of the largest and most comprehensive such releases made by any museum, the Walters collection of ancient art includes examples from Egypt, Nubia, Greece, Rome, Etruria and the Near East. In 1911, Henry Walters purchased almost 100 gold artifacts from the Chiriqui region of western Panama in Central America, the museum owns the oldest surviving Chinese wood-and-lacquer image of the Buddha. It is exhibited in a gallery dedicated solely to this work, the Museum holds one of the largest and finest collections of Thai bronze, scrolls, and banner paintings in the world. Islamic art in all media is represented at the Walters, the Walters Museum owns an array of Islamic manuscripts. Walters Art Museum, MS W.613 contains five Mughal miniatures from a very important Khamsa of Nizami made for the Emperor Akbar, Henry Walters assembled a collection of art produced during the Middle Ages in all the major artistic media of the period. This forms the basis of the Walters medieval collection, for which the Museum is best known internationally. Considered one of the best collections of art in the United States, the Museums holdings include examples of metalwork, sculpture, stained glass, textiles, icons. Sculpted heads from the royal Abbey of St. Denis are rare surviving examples of sculptures that are directly connected with the origins of Gothic art in 12th Century France. An ivory casket covered with scenes of jousting knights is one of about a dozen such objects to survive in the world, many of these works are on display in the Museums galleries. Works in the collection are the subject of active research by the curatorial and conservation departments of the museum. The collection of European Renaissance and Baroque art features holdings of paintings, sculpture, furniture, ceramics, metal work, arms, the museum has one of ten surviving examples of the Sèvres pot-pourri vase in the shape of a ship from the 1750s and 1760s. William and Henry Walters collected works by late 19th Century French academic masters, Henry Walters was particularly interested in the courtly arts of 18th Century France. The museum’s collection of Sèvres porcelain includes a number of pieces that were made for members of the Royal Bourbon Court at Versailles Palace outside of Paris. Portrait miniatures and the examples of works, especially snuffboxes and watches, are displayed in the Treasury, along with some exceptional 19th-
Walters Art Museum
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North Charles Street original main entrance to the Walters Art Museum
Walters Art Museum
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Sculpture Garden (central "Great Hall") of the Walters Art Gallery (now Walters Art Museum) in the original Main Building of 1905-1909
Walters Art Museum
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Sumerian male worshiper, c.2300 BC
Walters Art Museum
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" Padiiset's Statue ", illustrates Canaan - Ancient Egypt trade, c.1700 B.C. (inscription c.900 B.C.)
18.
Orlando furioso
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Orlando Furioso is an Italian epic poem by Ludovico Ariosto which has exerted a wide influence on later culture. The earliest version appeared in 1516, although the poem was not published in its form until 1532. Orlando Furioso is a continuation of Matteo Maria Boiardos unfinished romance Orlando Innamorato, in its historical setting and characters, it shares some features with the Old French Chanson de Roland of the eleventh century, which tells of the death of Roland. The story is also a romance which stemmed from a tradition beginning in the late Middle Ages and continuing in popularity in the 16th century. Orlando is the Christian knight known in French as Roland, the action takes place against the background of the war between Charlemagnes Christian paladins and the Saracen army that has invaded Europe and is attempting to overthrow the Christian empire. The poem is about war and love and the ideal of chivalry. It mixes realism and fantasy, humor and tragedy, the stage is the entire world, plus a trip to the moon. The poem is divided into forty-six cantos, each containing a number of eight-line stanzas in ottava rima. Ottava rima had been used in previous Italian romantic epics, including Luigi Pulcis Morgante, Ariostos work is 38,736 lines long in total, making it one of the longest poems in European literature. Ariosto began working on the poem around 1506, when he was 32, the first edition of the poem, in 40 cantos, was published in Ferrara in April 1516 and dedicated to the poets patron Ippolito dEste. A second edition appeared in 1521 with minor revisions, Ariosto continued to write more material for the poem and in the 1520s he produced five more cantos, marking a further development of his poetry, which he decided not to include in the final edition. They were published after his death by his illegitimate son Virginio under the title Cinque canti and are regarded by some modern critics. The third and final version of Orlando Furioso, containing 46 cantos, Ariosto had sought stylistic advice from the humanist Pietro Bembo to give his verse the last degree of polish and this is the version known to posterity. The first English translation by John Harington was published in 1591 at the behest of Queen Elizabeth I, Ariostos poem is a sequel to Matteo Maria Boiardos Orlando Innamorato. The name Orlando is a translation of Roland from the 12th-century Song of Roland, the latter contained the magical elements and love interest that were generally lacking in the more austere and warlike poems about Carolingian heroes. Ariosto continued to mix these elements in his poem as well as adding material derived from Classical sources, however, Ariosto has an ironic tone rarely present in Boiardo, who treated the ideals of chivalry much more seriously. In Orlando Furioso, instead of chivalric ideals, no longer alive in the 16th century, Agramante and his allies – who include Marsilio, the King of Spain, and the boastful warrior Rodomonte – besiege Charlemagne in Paris. Meanwhile, Orlando, Charlemagnes most famous paladin, has been tempted to forget his duty to protect the emperor through his love for the pagan princess Angelica
Orlando furioso
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Ruggiero Rescuing Angelica by Gustave Doré
Orlando furioso
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Page from 1565 edition of Orlando Furioso by Francesco Franceschi
Orlando furioso
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Norandino and Lucina Discovered by the Ogre, from Canto XVII, by Giovanni Lanfranco, 1624
Orlando furioso
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Marphise by Eugène Delacroix, 1852 (Walters Art Museum)
19.
Theseus
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Theseus was a founder-hero, like Perseus, Cadmus, or Heracles, all of whom battled and overcame foes that were identified with an archaic religious and social order. As Heracles was the Dorian hero, Theseus was a hero, considered by Athenians as their own great reformer, his name comes from the same root as θεσμός. The myths surrounding Theseus—his journeys, exploits, and family—have provided material for fiction throughout the ages, Theseus was responsible for the synoikismos —the political unification of Attica under Athens, represented emblematically in his journey of labours, subduing ogres and monstrous beasts. Because he was the king, Theseus built and occupied a palace on the fortress of the Acropolis that may have been similar to the palace that was excavated in Mycenae. Pausanias reports that after the synoikismos, Theseus established a cult of Aphrodite Pandemos, Plutarchs vita of Theseus makes use of varying accounts of the death of the Minotaur, Theseus escape, and the love of Ariadne for Theseus. Plutarchs sources, not all of whose texts have survived independently, included Pherecydes, Demon, Philochorus, Aegeus, one of the primordial kings of Athens, was childless. Desiring an heir, he asked the oracle at Delphi for advice and her cryptic words were Do not loosen the bulging mouth of the wineskin until you have reached the height of Athens, lest you die of grief. Aegeus did not understand the prophecy and was disappointed and he asked the advice of his host Pittheus, king of Troezen. Pittheus understood the prophecy, got Aegeus drunk, and gave Aegeus his daughter Aethra, but following the instructions of Athena in a dream, Aethra left the sleeping Aegeus and waded across to the island of Sphairia that lay close to Troezens shore. There she poured a libation to Sphairos and Poseidon, and was possessed by the sea god in the night. The mix gave Theseus a combination of divine as well as mortal characteristics in his nature, such double paternity, with one immortal, after Aethra became pregnant, Aegeus decided to return to Athens. In Athens, Aegeus was joined by Medea, who had left Corinth after slaughtering the children she had borne, priestess and consort together represented the old order in Athens. Thus Theseus was raised in his mothers land, when Theseus grew up and became a brave young man, he moved the rock and recovered his fathers tokens. His mother then told him the truth about his fathers identity, young, brave, and ambitious, Theseus decided to go alone by the land route and defeated a great many bandits along the way. At the Isthmian entrance to the Underworld was a robber named Sinis and he would capture travelers, tie them between two pine trees that were bent down to the ground, and then let the trees go, tearing his victims apart. Theseus killed him by his own method and he then became intimate with Siniss daughter, Perigune, fathering the child Melanippus. In another deed north of the Isthmus, at a place called Crommyon, he killed an enormous pig, some versions name the sow herself as Phaea. The Bibliotheca described the Crommyonian Sow as an offspring of Typhon, near Megara, an elderly robber named Sciron forced travellers along the narrow cliff-face pathway to wash his feet
Theseus
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Greek Mythology
Theseus
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Theseus Slaying Minotaur (1843), bronze sculpture by Antoine-Louis Barye
Theseus
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Theseus and Aethra, by Laurent de La Hyre
Theseus
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The deeds of Theseus, on an Attic red-figured kylix, c. 440–430 BCE (British Museum)
20.
Minotaur
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In Greek mythology, the Minotaur was a creature with the head of a bull and the body of a man or, as described by Roman poet Ovid, a being part man and part bull. The Minotaur dwelt at the center of the Labyrinth, which was an elaborate maze-like construction designed by the architect Daedalus and his son Icarus, the Minotaur was eventually killed by the Athenian hero Theseus. The term Minotaur derives from the Ancient Greek Μῑνώταυρος, a compound of the name Μίνως, in Crete, the Minotaur was known by the name Asterion, a name shared with Minos foster-father. Minotaur was originally a noun in reference to this mythical figure. The use of minotaur as a noun to refer to members of a generic species of bull-headed creatures developed much later. After he ascended the throne of the island of Crete, Minos competed with his brothers to rule, Minos prayed to Poseidon, the sea god, to send him a snow-white bull, as a sign of support. He was to kill the bull to show honor to the deity and he thought Poseidon would not care if he kept the white bull and sacrificed one of his own. To punish Minos, Poseidon made Pasiphaë, Minoss wife, fall deeply in love with the bull, Pasiphaë had craftsman Daedalus make a hollow wooden cow, and climbed inside it in order to mate with the white bull. The offspring was the monstrous Minotaur, Pasiphaë nursed him, but he grew and became ferocious, being the unnatural offspring of a woman and a beast, he had no natural source of nourishment and thus devoured humans for sustenance. Minos, after getting advice from the oracle at Delphi, had Daedalus construct a labyrinth to hold the Minotaur. Its location was near Minos palace in Knossos, the Minotaur is commonly represented in Classical art with the body of a man and the head and tail of a bull. One of the figurations assumed by the river spirit Achelous in seducing Deianira is as a man with the head of a bull, from Classical times through the Renaissance, the Minotaur appears at the center of many depictions of the Labyrinth. This alternative tradition survived into the Renaissance, and still figures in modern depictions. Androgeus, son of Minos, had killed by the Athenians. Others say he was killed at Marathon by the Cretan bull, his mothers former taurine lover, the common tradition is that Minos waged war to avenge the death of his son and won. Catullus, in his account of the Minotaurs birth, refers to another version in which Athens was compelled by the plague to pay penalties for the killing of Androgeos. Aegeus had to avert the plague caused by his crime by sending young men at the time as the best of unwed girls as a feast to the Minotaur. Minos required that seven Athenian youths and seven maidens, drawn by lots, when the third sacrifice approached, Theseus volunteered to slay the monster
Minotaur
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Minotaur bust, (National Archaeological Museum of Athens)
Minotaur
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The bronze "Horned God" from Enkomi, Cyprus
Minotaur
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Rhyton in the shape of a bull's head, Heraklion Archaeological Museum; shown here at the Greek pavilion at Expo '88
Minotaur
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Pasiphaë and the Minotaur, Attic red-figure kylix found at Etruscan Vulci (Cabinet des Médailles, Paris)
21.
Lapitha
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The Lapiths are a legendary people of Greek mythology, whose home was in Thessaly, in the valley of the Peneus and on the mountain Pelion. Like the Myrmidons and other Thessalian tribes, the Lapiths were natives of Thessaly, lapithes was a valiant warrior, but Centaurus was a deformed being who later mated with mares from whom the race of half-man, half-horse Centaurs then came. Lapithes was the ancestor of the Lapith people, and his descendants include Lapith warriors and kings, such as Ixion, Pirithous, Caeneus, and Coronus. In the Iliad the Lapiths send forty manned ships to join the Greek fleet in the Trojan War, commanded by Polypoetes, the Lapiths were credited with inventing the bridles bit. In fiction, the Lapith king Pirithous was marrying the horsewoman Hippodameia, tamer of horses, at the wedding feast that made a battle, the best-known legend with which the Lapiths are connected is their battle with the Centaurs at the wedding feast of Pirithous, the Centauromachy. The Centaurs had been invited, but, unused to wine, when the bride was presented to greet the guests, the centaur Eurytion leapt up and attempted to rape her. All the other centaurs were up in a moment, straddling women, in the battle that ensued, Theseus came to the Lapiths aid. They cut off Eurytions ears and nose and threw him out, in the battle the Lapith Caeneus was killed, and the defeated Centaurs were expelled from Thessaly to the northwest. Caeneus was a well-known Lapith, originally a girl named Caenis and the favorite of Poseidon, such warrior women, indistinguishable from men, were familiar among the Scythian horsemen too. In the Centaur battle, Caeneus proved invulnerable, until the Centaurs simply crushed him with rocks and trunks of trees and he disappeared into the depths of the earth unharmed and was released as a sandy-headed bird. In later contests, the Centaurs were not so easily beaten, mythic references explained the presence into historic times of primitive Lapiths in Malea and in the brigand stronghold of Pholoe in Elis as remnants of groups driven there by the Centaurs. Some historic Greek cities bore names connected with Lapiths, and the Kypselides of Corinth claimed descent from Cæneus, the Battle of the Lapiths and Centaurs was a familiar symposium theme for the vase-painters. A sonnet vividly evoking the battle by the French poet José María de Heredia was included in his volume Les Trophées, in the Renaissance, the battle became a favorite theme for artists, an excuse to display close-packed bodies in violent confrontation. The young Michelangelo executed a marble bas-relief of the subject in Florence about 1492, piero di Cosimos panel Battle of Centaurs and Lapiths, now at the National Gallery, London, was painted during the following decade. If it was part of a marriage chest, or cassone. A frieze with a Centauromachy was also painted by Luca Signorelli in his Virgin Enthroned with Saints, inspired by a Roman sarcophagus found at Cortona, in Tuscany, during the early 15th century. Dictionary of Greek and Roman Biography and Mythology vol.11 p.721 Ovid Metamorphoses XII passim, Odyssey XXI,330 –340, Iliad xii. 128,181, Pausanias 1.17.2,5.10.8, Strabo ix.39, Greek Mythology Link - Lapiths, an annotated list of Lapith names, mainly in Metamorphoses, and some Lapith descendants Theoi Project
Lapitha
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Battle of Centaurs and Lapiths, by Piero di Cosimo (notice the female centaur with a male centaur in the foreground).
22.
Centaur
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A centaur, or occasionally hippocentaur, is a mythological creature with the upper body of a human and the lower body of a horse. The centaurs were usually said to have born of Ixion. Another version, however, makes them children of a certain Centaurus and this Centaurus was either himself the son of Ixion and Nephele or of Apollo and Stilbe, daughter of the river god Peneus. In the later version of the story his twin brother was Lapithes, ancestor of the Lapiths, Centaurs were said to have inhabited the region of Magnesia and Mount Pelion in Thessaly, the Foloi oak forest in Elis, and the Malean peninsula in southern Laconia. Another tribe of centaurs was said to have lived on Cyprus, according to Nonnus, they were fathered by Zeus, who, in frustration after Aphrodite had eluded him, spilled his seed on the ground of that land. Unlike those of mainland Greece, the Cyprian centaurs were horned, there were also the Lamian Pheres, twelve rustic daimones of the Lamos river. They were set by Zeus to guard the infant Dionysos, protecting him from the machinations of Hera, the Lamian Pheres later accompanied Dionysos in his campaign against the Indians. Centaurs subsequently featured in Roman mythology, and were familiar figures in the medieval bestiary and they remain a staple of modern fantastic literature. The strife among these cousins is a metaphor for the conflict between the lower appetites and civilized behavior in humankind, theseus, a hero and founder of cities, who happened to be present, threw the balance in favour of the right order of things, and assisted Pirithous. The Centaurs were driven off or destroyed, another Lapith hero, Caeneus, who was invulnerable to weapons, was beaten into the earth by Centaurs wielding rocks and the branches of trees. Centaurs are thought of in many Greek myths as wild as untamed horses, like the Titanomachy, the defeat of the Titans by the Olympian gods, the contests with the Centaurs typify the struggle between civilization and barbarism. The Centauromachy is most famously portrayed in the Parthenon metopes by Phidias, a painted terracotta centaur was found in the Heros tomb at Lefkandi, and by the Geometric period, centaurs figure among the first representational figures painted on Greek pottery. An often-published Geometric period bronze of a warrior face-to-face with a centaur is at the Metropolitan Museum of Art, in Greek art of the Archaic period, centaurs are depicted in three different forms. Some centaurs are depicted with a human torso attached to the body of a horse at the withers, where the neck would be. Class B centaurs are depicted with a body and legs, joined at the waist with the hindquarters of a horse. A third type, designated Class C, depicts centaurs with human forelegs terminating in hooves, Baur describes this as an apparent development of Aeolic art, which never became particularly widespread. At a later period, paintings on some amphoras depict winged centaurs, Centaurs were also frequently depicted in Roman art. The most common theory holds that the idea of centaurs came from the first reaction of a culture, as in the Minoan Aegean world
Centaur
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Greek, possibly Athenian, Statuette of a centaur, ca. 530 B.C., in the Princeton University Art Museum
Centaur
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Brooklyn Museum - Centauress - John La Farge - overall
Centaur
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Centauromachy, tondo of an Attic red-figure kylix, ca. 480 BC
Centaur
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Boeotian kantharos, Late Geometric period
23.
Tuileries
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The Tuileries Palace was a royal and imperial palace in Paris which stood on the right bank of the River Seine. It was the usual Parisian residence of most French monarchs, from Henry IV to Napoleon III, built in 1564, it was gradually extended until it closed off the western end of the Louvre courtyard and displayed an immense façade of 266 metres. After the accidental death of Henry II of France in 1559 and she sold the medieval Hôtel des Tournelles, where her husband had died, and began building the palace of Tuileries in 1564, using architect Philibert de lOrme. The name derives from the tile kilns or tuileries which had occupied the site. The palace was formed by a range of long, narrow buildings. During the reign of Henry IV, the building was enlarged to the south, so it joined the long gallery, the Grande Galerie. During the reign of Louis XIV major changes were made to the Tuileries Palace, from 1659 to 1661 it was extended to the north by the addition of the Théâtre des Tuileries. From 1664 to 1666 the architect Louis Le Vau and his assistant François dOrbay made other significant changes, a new grand staircase was installed in the entrance of the north wing of the palace, and lavishly decorated royal apartments were constructed in the south wing. The kings rooms were on the floor, facing toward the Louvre. At the same time, Louis gardener, André Le Nôtre, the Court moved into the Tuileries Palace in November 1667, but left in 1672, and soon thereafter went to the Palace of Versailles. The Tuileries Palace was virtually abandoned and used only as a theatre, the boy-king Louis XV was moved from Versailles to the Tuileries Palace on 1 January 1716, four months after ascending to the throne. He moved back to Versailles on 15 June 1722, three months before his coronation, both moves were made at the behest of the Regent, the duc dOrléans. The king also resided at the Tuileries for short periods during the 1740s, on 6 October 1789, during the French Revolution, Louis XVI and his family were forced to leave Versailles and brought to the Tuileries where they were kept under surveillance. For the next two years the palace remained the residence of the king. The Tuileries covered riding ring, the Salle du Manège, home to the royal equestrian academy, the royal family tried to escape after dark, on 20 June 1791, but were captured at Varennes and brought back to the Tuileries. The Paris National Guard defended the King, but the daughter of King Louis XVI claimed that many of the guard were already in favor of the revolution, in November 1792, the Armoire de fer incident took place at the Tuileries palace. This was the discovery of a place at the royal apartments. The incident created a scandal that served to discredit the King
Tuileries
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The Tuileries Palace and the Arc de Triomphe du Carrousel circa 1860. The Arc de Triomphe de l'Etoile can be seen in the background.
Tuileries
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The Tuileries Palace in the 1600s
Tuileries
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The old medieval Louvre (background) and the Tuileries (foreground) linked by the Grande Galerie along the River Seine, in 1615
Tuileries
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The Tuileries Palace and the Louvre on the 1739 Turgot map of Paris, during the reign of Louis XV
24.
Alfred Barye
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Alfred Barye Le Fils or Alf Barye was a French sculptor, of the Belle Époque, pupil of his father the artist Antoine-Louis Barye. In cooperation with Émile-Coriolan Guillemin, Barye did the artwork for The Arab Warrior Knight on Horseback, included in Baryes oeuvre were animalier bronzes as well as Oriental subjects. At his fathers request, he signed his work as fils to differentiate his work from his fathers, Alfred Barye was born in Paris, France, on 21 January 1839, the son of Antoine-Louis Barye. He learned his craft of animalier sculptor under the eye of his father who was one of the original pioneers of animal sculpture in the mid-to-late 19th century. Barye which the senior Barye objected to because it created confusion as to which Barye, father or son and he specialized in the animalier school in the production of bronze sculptures. Although a fine artist in his own right, he struggled to create his own identity living in the shadow of his famous father. The vast majority of his pieces are signed A. Barye, the majority of the sculptures leaving the Barye foundry were sand castings rather than lost-wax castings. Alfred typically used mid-brown patinas but would sometimes add green and auburn-colored hues in the patination process, any Barye bronze – by father or son – will generally have an exquisite patina. Antoine-Louis was particularly finicky with his patinas and would not allow other foundries to apply them, preferring to do it himself for appearance, Alfred, too, would not let a sculpture leave his workshop without a perfectly applied and visually pleasing patina. Alfred Barye did a production of sculptures and focused his attention on race horses or horses on the move. Some of his bronzes are The Arab Warrior Knight on Horseback. Barye died in Paris in 1882 and he is known for the precision detail in his bronze sculptures, as shown in the pheasant sculpture. Barye was known for attention to detail on his bronzes. He produced a number of sculptures as well as genre figures. He received honourable mention honors in the 1897 Salon for the work Aide Fauconnier Indien, price realized 7000 GBP,04 December 2013, Sothebys London Alfred Barye in American public collections, on the French Sculpture Census website
Alfred Barye
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A silvered bronze sculpture of a pheasant by Barye (c. 1875)
Alfred Barye
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Signature of Alfred Barye
25.
The Walters Art Museum
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The Walters Art Museum, located in Mount Vernon-Belvedere, Baltimore, Maryland, is a public art museum founded and opened in 1934. It holds collections established during the mid-19th Century, located across the back alley, a block south of the Walters mansion on West Monument Street/Mount Vernon Place, on the northwest corner of North Charles Street at West Centre Street. The following year, The Walters reopened its original building after a dramatic three-year physical renovation and replacement of internal utilities. The Archimedes Palimpsest was on loan to the Walters Art Museum from a collector for conservation. This was one of the largest and most comprehensive such releases made by any museum, the Walters collection of ancient art includes examples from Egypt, Nubia, Greece, Rome, Etruria and the Near East. In 1911, Henry Walters purchased almost 100 gold artifacts from the Chiriqui region of western Panama in Central America, the museum owns the oldest surviving Chinese wood-and-lacquer image of the Buddha. It is exhibited in a gallery dedicated solely to this work, the Museum holds one of the largest and finest collections of Thai bronze, scrolls, and banner paintings in the world. Islamic art in all media is represented at the Walters, the Walters Museum owns an array of Islamic manuscripts. Walters Art Museum, MS W.613 contains five Mughal miniatures from a very important Khamsa of Nizami made for the Emperor Akbar, Henry Walters assembled a collection of art produced during the Middle Ages in all the major artistic media of the period. This forms the basis of the Walters medieval collection, for which the Museum is best known internationally. Considered one of the best collections of art in the United States, the Museums holdings include examples of metalwork, sculpture, stained glass, textiles, icons. Sculpted heads from the royal Abbey of St. Denis are rare surviving examples of sculptures that are directly connected with the origins of Gothic art in 12th Century France. An ivory casket covered with scenes of jousting knights is one of about a dozen such objects to survive in the world, many of these works are on display in the Museums galleries. Works in the collection are the subject of active research by the curatorial and conservation departments of the museum. The collection of European Renaissance and Baroque art features holdings of paintings, sculpture, furniture, ceramics, metal work, arms, the museum has one of ten surviving examples of the Sèvres pot-pourri vase in the shape of a ship from the 1750s and 1760s. William and Henry Walters collected works by late 19th Century French academic masters, Henry Walters was particularly interested in the courtly arts of 18th Century France. The museum’s collection of Sèvres porcelain includes a number of pieces that were made for members of the Royal Bourbon Court at Versailles Palace outside of Paris. Portrait miniatures and the examples of works, especially snuffboxes and watches, are displayed in the Treasury, along with some exceptional 19th-
The Walters Art Museum
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North Charles Street original main entrance to the Walters Art Museum
The Walters Art Museum
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Sculpture Garden (central "Great Hall") of the Walters Art Gallery (now Walters Art Museum) in the original Main Building of 1905-1909
The Walters Art Museum
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Sumerian male worshiper, c.2300 BC
The Walters Art Museum
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" Padiiset's Statue ", illustrates Canaan - Ancient Egypt trade, c.1700 B.C. (inscription c.900 B.C.)
26.
Brooklyn Museum
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The Brooklyn Museum is an art museum located in the New York City borough of Brooklyn. At 560,000 square feet, the museum is New York Citys third largest in physical size, the museum initially struggled to maintain its building and collection, only to be revitalized in the late 20th century, thanks to major renovations. Significant areas of the collection include antiquities, specifically their collection of Egyptian antiquities spanning over 3,000 years, African, Oceanic, and Japanese art make for notable antiquities collections as well. American art is represented, starting at the Colonial period. Artists represented in the collection include Mark Rothko, Edward Hopper, Norman Rockwell, Winslow Homer, Edgar Degas, Georgia OKeeffe, the museum also has a Memorial Sculpture Garden which features salvaged architectural elements from throughout New York City. The roots of the Brooklyn Museum extend back to the 1823 founding by Augustus Graham of the Brooklyn Apprentices’ Library in Brooklyn Heights, in 1890, under its director Franklin Hooper, Institute leaders reorganized as the Brooklyn Institute of Arts and Sciences and began planning the Brooklyn Museum. The initial design for the Brooklyn Museum was four times as large as the actualized version, Daniel Chester French, the noted sculptor of the Lincoln Memorial, was the principal designer of the pediment sculptures and the monolithic 12. 5-foot figures along the cornice. The figures were created by 11 sculptors and carved by the Piccirilli Brothers, by 1920, the New York City Subway reached the museum with a subway station, this greatly improved access to the once-isolated museum from Manhattan and other outer boroughs. The Brooklyn Institutes director Franklin Hooper was the museums first director and he was followed by Philip Newell Youtz, Laurance Page Roberts, Isabel Spaulding Roberts, Charles Nagel, Jr. and Edgar Craig Schenck. Thomas S. Buechner became the director in 1960, making him one of the youngest directors in the country. Buechner oversaw a major transformation in the way the museum displayed art and brought some one thousand works that had languished in the museums archives and put them on display. Buechner played a role in rescuing the Daniel Chester French sculptures from destruction due to an expansion project at the Manhattan Bridge in the 1960s. The Brooklyn Museum changed its name to Brooklyn Museum of Art in 1997, on March 12,2004, the museum announced that it would revert to its previous name. In April 2004, the museum opened the James Polshek-designed entrance pavilion on the Eastern Parkway façade, in September 2014, Lehman announced that he was planning to retire around June 2015. In May 2015, Creative Time president and artistic director Anne Pasternak was named the Museums next director, member institutions occupy land or buildings owned by the City of New York and derive part of their yearly funding from the City. The Brooklyn Museum also supplements its earned income with funding from Federal and State governments, as well as donations by individuals. Major benefactors include Frank Lusk Babbott, the museum is the site of the annual Brooklyn Artists Ball which has included celebrity hosts such as Sarah Jessica Parker and Liv Tyler. The Brooklyn Museum exhibits collections that seek to embody the rich heritage of world cultures
Brooklyn Museum
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Brooklyn Museum
Brooklyn Museum
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Replica of the Statue of Liberty in back lot.
Brooklyn Museum
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Book of the Dead of the Goldworker of Amun, Sobekmose, 31.1777e
Brooklyn Museum
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Brooklyn Papyrus 664-332 BCE
27.
List of public art in Baltimore
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This list of public art in Baltimore provides an introduction to public art which is accessible in an outdoor public space in Baltimore. Because the collection of art is extensive and continues to grow. A fuller picture is available externally at, Baltimore City Public Art Inventory as of 2012 Smithsonian American Art Museum, Art Inventories Catalog - database for Baltimore Kelly, outdoor Sculpture in Baltimore, A Historical Guide to Public Art in the Monumental City. National Register of Historic Places listings in Baltimore
List of public art in Baltimore
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Armistead Monument,The! The Armistead Monument
List of public art in Baltimore
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Battle Monument,The! The Battle Monument
List of public art in Baltimore
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Columbus Monument (Canessa)! Columbus Monument
List of public art in Baltimore
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Confederate Women's Monument
28.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
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A 13-digit ISBN, 978-3-16-148410-0, as represented by an EAN-13 bar code
29.
Public domain
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The term public domain has two senses of meaning. Anything published is out in the domain in the sense that it is available to the public. Once published, news and information in books is in the public domain, in the sense of intellectual property, works in the public domain are those whose exclusive intellectual property rights have expired, have been forfeited, or are inapplicable. Examples for works not covered by copyright which are therefore in the domain, are the formulae of Newtonian physics, cooking recipes. Examples for works actively dedicated into public domain by their authors are reference implementations of algorithms, NIHs ImageJ. The term is not normally applied to situations where the creator of a work retains residual rights, as rights are country-based and vary, a work may be subject to rights in one country and be in the public domain in another. Some rights depend on registrations on a basis, and the absence of registration in a particular country, if required. Although the term public domain did not come into use until the mid-18th century, the Romans had a large proprietary rights system where they defined many things that cannot be privately owned as res nullius, res communes, res publicae and res universitatis. The term res nullius was defined as not yet appropriated. The term res communes was defined as things that could be enjoyed by mankind, such as air, sunlight. The term res publicae referred to things that were shared by all citizens, when the first early copyright law was first established in Britain with the Statute of Anne in 1710, public domain did not appear. However, similar concepts were developed by British and French jurists in the eighteenth century, instead of public domain they used terms such as publici juris or propriété publique to describe works that were not covered by copyright law. The phrase fall in the domain can be traced to mid-nineteenth century France to describe the end of copyright term. In this historical context Paul Torremans describes copyright as a coral reef of private right jutting up from the ocean of the public domain. Because copyright law is different from country to country, Pamela Samuelson has described the public domain as being different sizes at different times in different countries. According to James Boyle this definition underlines common usage of the public domain and equates the public domain to public property. However, the usage of the public domain can be more granular. Such a definition regards work in copyright as private property subject to fair use rights, the materials that compose our cultural heritage must be free for all living to use no less than matter necessary for biological survival
Public domain
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Newton's own copy of his Principia, with hand-written corrections for the second edition
Public domain
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L.H.O.O.Q. (1919). Derivative work by the Dadaist Marcel Duchamp based on the Mona Lisa.
30.
Gustave Planche
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Jean Baptiste Gustave Planche was a French art and literary critic. Already in his time as a student, Planche frequented artistic circles. This did nothing to promote the success of his studies, around 1830, Planche was introduced by the famous writer Alfred de Vigny to François Buloz, director of the Revue des deux mondes, and contributed to this journal until 1840. He resumed his connection with the journal in 1846, a collaboration which was terminated by his death in 1857. Planche was an honest critic and refused to accept a position from Napoleon III for fear of compromising his freedom, a fervent admirer of George Sand and Alfred de Vigny, he was contemptuous of Victor Hugo as a playwright. He characterized Hugos earlier dramas as odes, those following the drama Le Roi samuse as antitheses, and his critical papers were collected under the titles, Portraits littéraires, Nouveaux portraits littéraires, and his art criticisms in Études sur lécole française. In his writings, Planche made an attempt to reconcile modern and classical art, Planche liked to formulate his opinions in a sharp and precise manner. Jonker, Marijke, Gustave Planche, or The Romantic Side of Classicism, nineteenth-Century Art Worldwide Vol.1 no.2. Attribution This article incorporates text from a now in the public domain, Chisholm, Hugh, ed. Planche
Gustave Planche
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Caricature of Gustave Planche bv Benjamin.
31.
Revue des deux mondes
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The Revue des deux Mondes is a French language monthly literary and cultural affairs magazine that has been published in Paris since 1829. According to its website, it is today the place for debates and dialogues between nations, disciplines and cultures, about the subjects of our societies. The main shareholder is Marc Ladreit de Lacharrières FIMALAC Group, the Revue des deux Mondes was founded by Prosper Mauroy and Pierre de Ségur-Dupeyron, first appearing on 1 August 1829. It was purchased in 1831 by Charles Buloz, who was its editor until 1877, another influential editor in its history was Ferdinand Brunetière. Revue des Deux Mondes Revue des Deux Mondes on Wikisource La Revue des deux mondes online in Gallica, the digital library of the BnF
Revue des deux mondes
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Revue des deux Mondes
32.
Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
Virtual International Authority File
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Screenshot 2012
33.
Integrated Authority File
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The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
Integrated Authority File
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GND screenshot
34.
Union List of Artist Names
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The Union List of Artist Names is an online database using a controlled vocabulary currently containing around 293,000 names and other information about artists. Names in ULAN may include names, pseudonyms, variant spellings, names in multiple languages. Among these names, one is flagged as the preferred name, the focus of each ULAN record is an artist. Currently there are around 120,000 artists in the ULAN, in the database, each artist record is identified by a unique numeric ID. Linked to each artist record are names, related artists, sources for the data, the temporal coverage of the ULAN ranges from Antiquity to the present and the scope is global. The ULAN includes proper names and associated information about artists, artists may be either individuals or groups of individuals working together. Artists in the ULAN generally represent creators involved in the conception or production of visual arts, repositories and some donors are included as well. Work on the ULAN began in 1984, when the Getty decided to merge, in 1987 the Getty created a department dedicated to compiling and distributing terminology. The ULAN grows and changes via contributions from the user community, although originally intended only for use by Getty projects, the broader art information community outside the Getty expressed a need to use ULAN for cataloging and retrieval. Its scope was broadened to include corporate bodies such as firms and repositories of art. The ULAN was founded under the management of Eleanor Fink, the ULAN has been constructed over the years by numerous members of the user community and an army of dedicated editors, under the supervision of several managers. The ULAN was published in 1994 in hardcopy and machine-readable files, given the growing size and frequency of changes and additions to the ULAN, by 1997 it had become evident that hard-copy publication was impractical. It is now published in automated formats only, in both a searchable online Web interface and in data files available for licensing, final editorial control of the ULAN is maintained by the Getty Vocabulary Program, using well-established editorial rules. The current managers of the ULAN are Patricia Harpring, Managing Editor, entities in the Person facet typically have no children. Entities in the Corporate Body facet may branch into trees, there may be multiple broader contexts, making the ULAN structure polyhierarchical. In addition to the relationships, the ULAN also has equivalent. Contributors to the Getty Vocabularies and implementers of the licensed vocabulary data may consult these guidelines as well
Union List of Artist Names
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Contents
35.
National Library of Australia
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In 2012–2013, the National Library collection comprised 6,496,772 items, and an additional 15,506 metres of manuscript material. In 1901, a Commonwealth Parliamentary Library was established to serve the newly formed Federal Parliament of Australia, from its inception the Commonwealth Parliamentary Library was driven to development of a truly national collection. The present library building was opened in 1968, the building was designed by the architectural firm of Bunning and Madden. The foyer is decorated in marble, with windows by Leonard French. In 2012–2013 the Library collection comprised 6,496,772 items, the Librarys collections of Australiana have developed into the nations single most important resource of materials recording the Australian cultural heritage. Australian writers, editors and illustrators are actively sought and well represented—whether published in Australia or overseas, approximately 92. 1% of the Librarys collection has been catalogued and is discoverable through the online catalogue. The Library has digitized over 174,000 items from its collection and, the Library is a world leader in digital preservation techniques, and maintains an Internet-accessible archive of selected Australian websites called the Pandora Archive. A core Australiana collection is that of John A. Ferguson, the Library has particular collection strengths in the performing arts, including dance. The Librarys considerable collections of general overseas and rare materials, as well as world-class Asian. The print collections are further supported by extensive microform holdings, the Library also maintains the National Reserve Braille Collection. The Library has acquired a number of important Western and Asian language scholarly collections from researchers, williams Collection The Asian Collections are searchable via the National Librarys catalogue. The National Library holds a collection of pictures and manuscripts. The manuscript collection contains about 26 million separate items, covering in excess of 10,492 meters of shelf space, the collection relates predominantly to Australia, but there are also important holdings relating to Papua New Guinea, New Zealand and the Pacific. The collection also holds a number of European and Asian manuscript collections or single items have received as part of formed book collections. Examples are the papers of Alfred Deakin, Sir John Latham, Sir Keith Murdoch, Sir Hans Heysen, Sir John Monash, Vance Palmer and Nettie Palmer, A. D. Hope, Manning Clark, David Williamson, W. M. The Library has also acquired the records of many national non-governmental organisations and they include the records of the Federal Secretariats of the Liberal party, the A. L. P, the Democrats, the R. S. L. Finally, the Library holds about 37,000 reels of microfilm of manuscripts and archival records, mostly acquired overseas and predominantly of Australian, the National Librarys Pictures collection focuses on Australian people, places and events, from European exploration of the South Pacific to contemporary events. Art works and photographs are acquired primarily for their informational value, media represented in the collection include photographs, drawings, watercolours, oils, lithographs, engravings, etchings and sculpture/busts
National Library of Australia
National Library of Australia
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National Library of Australia as viewed from Lake Burley Griffin, Canberra
National Library of Australia
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The original National Library building on Kings Avenue, Canberra, was designed by Edward Henderson. Originally intended to be several wings, only one wing was completed and was demolished in 1968. Now the site of the Edmund Barton Building.
National Library of Australia
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The library seen from Lake Burley Griffin in autumn.
36.
Netherlands Institute for Art History
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The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
Netherlands Institute for Art History
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As the logos on the window show, the RKD shares the same building located at Den Haag Centraal with the National Archives, the Nederlands Letterkundig Museum (nl) (LM), the Huygens ING, the Netherlands Music Institute (NMI) and the Koninklijke Bibliotheek.
37.
Antoine-Louis Barye
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Antoine-Louis Barye was a French sculptor most famous for his work as an animalier, a sculptor of animals. Born in Paris, France, Barye began his career as a goldsmith and he first worked under his father, Pierre, but around 1810 worked under the sculptor Guillaume-Mertin Biennais, who was a goldsmith to Napoleon. After studying under sculptor Francois-Joseph Bosio in 1816 and painter Baron Antoine-Jean Gros, in 1819, while he was studying at the École des Beaux-Arts, Barye sculpted a medallion named Milo of Crotana Devoured by a Lion, in which the lion bites into Milos left thigh. Milos theme was the official theme for the medallion competition of 1819. Around 1820 Bayre sculpted Hercules with the Erymanthean Boar, depicting Hercules during his fourth Labor, where he had to capture, live, a wild boar from Mount Erymanthos. Barye sculpted the portrait medallion Young Man in a Beret in bronze, as well as Portrait of the Founder Richard in 1827, in only a head. He also sculpted Poised Stag in 1829, a much larger sculpture, which had a height of 48 cm, Barye didnt only want to be known as a sculptor of small bronzes, he wanted to be known as a sculpteur statuaire. In 1832 had mastered a style of his own in the Lion, Barye was no less successful in sculpture on a small scale, and excelled in representing animals in their most familiar attitudes. In 1852, he cast his bronze Jaguar Devouring a Hare, fame came late in the sculptors life. He was made Professor of Drawings at the Museum of Natural History in 1854, no new works were produced by Barye after 1869. While Barye excelled at sculpture he often faced financial burdens due to his lack of business knowledge, in 1848 he was forced to declare bankruptcy and all of his work and molds were sold to a foundry. The foundry began making inferior work from 1848-1857 and his reputation suffered during this time, in 1876 what remained of Baryes inventory,125 models, were sold to the Ferdinand Barbedienne foundry. The 1877 Barbedienne catalogue offered all of the models in bronze in variable sizes, there is a public square on the eastern tip of Île Saint-Louis in Paris that is dedicated to him. Barye had a son, Alfred Barye, who studied under him, Alfred, although very competent in his own right as a sculptor, would struggle to gain notoriety working in the shadow of his more famous father. Antoine-Louis was not pleased when his son began signing work as A. Barye because he thought this created confusion between his work and that of his son and he forced his son to sign as A. Barye, fils or Alf Barye in order to distinguish their works. The senior Barye signed only one way throughout his entire career, list of public art in Baltimore Émile-Coriolan Guillemin Attribution This article incorporates text from a publication now in the public domain, Frantz, Henri. Pennsylvania, The Pennsylvania State University,1984, ghent, Belgium, Snoeck-Ducaju & Zoon,2005
Antoine-Louis Barye
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Portrait by Léon Bonnat
Antoine-Louis Barye
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Hercules sitting on a bull, 1830s (National Museum, Warsaw)
Antoine-Louis Barye
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Theseus and the Minotaur, 1843 (Baltimore Museum of Art)
Antoine-Louis Barye
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Turkish Horse, No. 2, modeled ca. 1844 (Walters Art Museum)
This article incorporates text from a publication now in the public domain: Frantz, Henri (1911). "Barye, Antoine Louis". In Chisholm, Hugh. Encyclopædia Britannica (11th ed.). Cambridge University Press. which in turn cites
